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By Adeline McCall
2 Getting Ready for Your North Carolina Symphony Orchestra Concert
3 Information for Teachers on the Children's Concert Program
3-6 A MIDSUMMER NIGHT'S DREAM Mendelssohn
7 THE PERCUSSION SCORE
8-9 THE STAR-SPANGLED BANNER National Anthem
10 - 11 THE FIREBIRD BALLET SUITE Stravinsky
The Infernal Dance of King Kastchei
12-14 SYMPHONY No. 5 in C Minor, Op. 67 Beethoven
First Movement - Allegro con brio
15 - 16 GIRL CRAZY Gershwin
17 I'D LIKE TO TEACH THE WORLD TO SING Backer
18 - 21 CAPRICCIO ESPAGNOL Rimsky-Korsakof f
Fourth Movement - Scene and Gypsy Song
Fifth Movement - Fandango Asturiano
22 - 24 Movement and Music
FREEDOM IN MOVEMENT EXPRESSION
EXPLORING DIFFERENT TYPES OF FREE MOVEMENT
25 - 28 Bibliography
Tips to Teachers Copyright © 1981 , by Adeline McCall
Getting Ready For Your
NORTH CAROLINA SYMPHONY ORCHESTRA CONCERT
Season 1981 - 1982
James Ogle, Associate Conductor
Jackson Parkhurst, Assistant Conductor
Benjamin Swalin, Conductor Emeritus
Start as early as possible to publicize the coming of
THE NORTH CAROLINA SYMPHONY ORCHESTRA
to your community
1. Send pictures and articles to local papers with
date, time and place of the children's concert.
2. Arrange for radio and television announcements.
3. Distribute memos to parents.
4. See that Principals, Teachers, Cafeteria Managers,
and School Administrators have correct information
on the DATE, the DAY OF THE WEEK, and the HOUR of
the children's concert set in their schedules.
5. Schedule In-Service Teachers' Workshops to prepare
for the children's program. Include the librarians.
Order all materials for concert preparation as early as possible
Mendelssohn Vanguard SRV - 161 SD Everyman Classics
Stravinsky Seraphim Stereo S - 60022
Beethoven Columbia 34600 - Odyssey
Gershwin Columbia M 34542
Rimsky-Korsakof f Columbia Y 30044 - Odyssey
Each child should have his own individual copy of these
booklets. Materials printed in Symphony Stories are
copyrighted and may not be duplicated.
TIPS TO TEACHERS
Information included is copyrighted.
Address orders for all materials to:
NORTH CAROLINA SYMPHONY
Jackson Parkhurst, Director of Education and
P. 0. Box 28026
Raleigh, N. C. 27611
TELEPHONE (919) 733 - 2750
INFORMATION FOR TEACHERS ON THE CHILDREN'S
Children's concerts for the 1981 - 1982 season offer a stimulating
variety of musical experiences with works by American, German and
Russian composers. Teachers will find the school's library resources
helpful in providing books, filmstrips and films relating to the program.
If these serve to awaken an interest in the concert it is a good beginning,
More important, of course, is to bring a love of music to your children
by encouraging a great deal of quiet listening. Let the beauty of the
music create its own magic. By avoiding gimmicks and unrelated "props"
you free the child to express his own inner feelings. It may be through
movement, through an art form, or in a simple way — through his own words.
The opening number, a WEDDING MARCH, from the fairy world of Shakespeare's
A Midsummer Night's Dream , may well bring back the memory of a summer
wedding in 1981, when
"All over the world, here as well as elsewhere,
millions by the hundreds watched plumed horsemen,
gilded coaches, gentlemen in antique scarlet, a
girl in a tiara pronounced a Princess. And all,
I think, hoped she and her White Knight would live
happily ever after, as it always is in fairytales. . .
But what if it was all make-believe for a brief and
shining hour? The heart need not disbelieve in
fairies because the eyes have never seen one this side
of the looking glass."
— From the Wall Street Journal
by Vermont Royster
I. WEDDING MARCH — "A Midsummer Night's Dream" Vanguard SRV-161SD
Felix Mendelssohn Everyman Classics
1809 - 1847
Mendelssohn's WEDDING MARCH, in its original setting as incidental music
to Shakespeare's play, "A Midsummer Night's Dream," offers many oppor-
tunities for children to explore. When the seventeen-year old Felix
with his brother and sisters first presented the play in the garden of
their vast estate, the audience was transported to a wonderful world of
forest magic, with fairies, clowns and processions of royalty.
Once children become involved in the story they will probably see the
possibility of writing and producing a puppet show, or a dramatization
with music and pantomime.
Check the school library for possible filmstrips. Help the children
to identify the four groups of characters:
Duke Theseus and his train
Two pairs of lovers
Company of yokels - workmen
Whole court of fairyland with King Oberon and Queen Titania
The Wedding March is the music for a TRIPLE WEDDING:
Theseus and Hippolyta
Hermia and Lysander
Helena and Demetrius
Within the play there is a comic scene between Pyramus and Thisbe, enacted by
Snug, the Joiner
Bottom, the Weaver
Quince, the Carpenter
Flute, the Bellows-mender
Snout, the Tinker
Starveling, the Tailor
The older children will enjoy reading this in the original Shakespeare script
(or having you read it to them). This short interlude is easily dramatized
or made into a puppet show. It is found in Act V, Scene 1.
About the Music
At your children's concert the North Carolina Symphony will not play
the entire WEDDING MARCH. You will hear only the first three sections:
Theme I (A) WHOLE ORCHESTRA
(Opener and Theme I are repeated)
Theme II (B) WHOLE ORCHESTRA
Theme I (A) WHOLE ORCHESTRA
Theme III (C) STRINGS
Theme I (A) WHOLE ORCHESTRA
Let children identify: The sound of trumpets (Brass)
The sound of the whole orchestra
The sound of strings
The percussion score for children to play in the classroom is on the outside
back cover of Symphony Stories .
About the Composer
...Felix Mendelssohn speaks for himself in a short biography sent to
the Berlin Academy of Fine Arts when he was elected to membership in
the spring of 1834:
"I was born February 3, 1809, at Hamburg; began
the study of music in my eighth year, and was
taught thorough bass and composition by
Professor Zelter, and the pianoforte, first by
my mother, and later by Herr Ludwig Berger.
In 1829 I left Berlin, traveled through England
and Scotland, Southern Germany, Italy, Switzerland,
and France ..." His return to Dusseldorf, in 1833,
and later events in his illustrious life follow.
About the Composer , continued
...The story of Felix Mendelssohn and his distinguished family began
in Dessau. Here, in 1729, there lived a poor man named Mendel.
He was the keeper of a little Hebrew day school, and a writer of
Holy Scrolls. His son, Moses, later to be known as Moses Mendelssohn
(or Mendel's son) was a brilliant man who wrote philosophical treatises
and books in the tradition of Plato. He attained great prestige among
the Christians, and was known as "the German Plato."
...At the time of his marriage Moses Mendelssohn was living in Berlin,
where all Jews were required to purchase a certain amount of china from
the royal china factory, taking whatever the manager chose to unload on
them. For Moses and his bride it turned out to be twenty life-sized
china apes! In time they became prized family keepsakes.
...The Moses Mendelssohns had six children. The second son, Abraham, was
the father of the famous composer. Abraham's marriage to Leah Salomon,
the gifted daughter of a fine German- Jewi sh family, brought him a
dowry which enabled him to become a banker.
...Abraham and Leah were ideal parents. Felix was the second of their
four children. He adores his older sister, Fanny, who became a fine
pianist and composer. The two younger children were also musicians --
Rebecca had a lovely voice and Paul played the cello. Their mother,
Leah, who played and sang, encouraged home concerts as a regular part
of family life. Aside from music her talents included drawing skills
and a gift for languages. She could speak English, French and
Italian. She also read Homer in the original Greek.
...The father, Abraham, made his family rounds at 5:00 a.m. each morning
to see that the children were up and practicing. To broaden their
education he hired teachers of language, literature, drawing, painting,
dancing, fencing and swimming.
...At the age of nine Felix Mendelssohn made his first public appearance
as a pianist. He also began to compose. By 1820, his eleventh year,
he had written between fifty and sixty compositions, including works
for strings, piano, organ, and a cantata.
...In 1821 Felix's devoted teacher, Karl Friedrich Zelter, took him to
Weimar to meet the great German poet Goethe. The aging poet was so
impressed with the young boy's talent that he kept him as his house
guest. Every afternoon Felix played for hours -- Bach, Haydn, Mozart,
Beethoven, Cherubim", and his own compositions. The delighted Goethe
became Mendelssohn's life-long friend and invited him to come back
...In 1825 the Mendelssohn family moved to a seven acre estate in Berlin
at Leipzigerstrasse No. 3. Behind the imposing house stretched a green
park, once part of Federick the Great's hunting preserve. The estate
included, among other buildings, Abraham's banking offices and the famous
Garden House where Fanny and Felix first presented their version of
"A Midsummer Night's Dream."
...As young Felix continued to work seriously at composing, he became
greatly interested in the music of Bach, and hoped to restore his long
About the Composer , continued
neglected masterpieces to the world. Many of the unpublished manu-
scripts were scattered, and some lost, so it was a great discovery
when the score of the St. Matthew Passion came to light. It had been
rescued by Zelter from the wrapping papers of a cheese merchant.
Mendelssohn lost no time in organizing a Bach choir and after two years
of weekly rehearsals the St. Matthew Passion was presented in Berlin on
March 11, 1829. It was such a great success that the Crown Prince
ordered a second performance two weeks later to celebrate Bach's
hundred and forty- fourth birthday. This was only the beginning of
Mendelssohn's many efforts to display Bach's music before audiences,
musicians and publishers.
...It was in the spring of 1833 that he want to Dusseldorf to conduct the
Lower Rhine Festival. As always his work was so successful that he was
urged to stay as "director of all public and private musical establish-
ments in the town."
...At the end of two years he left Dusseldorf for a more important position
in Leipzig -- conductor of the Gewandhaus Orchestra. This orchestra,
ranked as the finest orchestra in Europe, became even better under
Mendelssohn's direction. His personal charm and gracious manners drew
the players to him. But he was a strict disciplinarian, allowing no
talking in his presence, and no noisy tuning up.
...Mendelssohn changed the style of conducting by using a baton. Previously,
conductors sat at a keyboard instrument, nodding their directions to the
concert master or standing with violin in hand and signaling with the
bow. At times when the tempo lagged they resorted to strenuous fiddling.
...One of Mendelssohn's dreams was to establish "a solid academy of music"
in Leipzig. After a number of years with much planning and plotting
his dream came true. In January, 1843, the first prospectus of the
famous Leipzig Conservatory came out with "Professors" Mendelssohn and
Schumann at the head of the faculty list.
...Mendelssohn's home life was a happy one. In 1836 he married Cecil e
Jeanrenaud, the daughter of a French Protestant clergyman. There was
no problem with religion since Felix's family had previously become
converted to Christianity. At Leah's brother's suggestion they added
Bartholdy to the Mendelssohn name.
...Felix and Cecile, who was ten years younger, made their home in Leipzig.
Here they raised their five pretty children in an environment of charm
and contentment—reminiscent of Felix's own early childhood.
...When Felix was returning from a trip to London news reached him that
his sister Fanny had died. It was more than he could bear; for she
was the closest sharer of his life's dreams and his artistic self. A
blood vessel burst in his head, and he fell senseless to the ground.
...For a time there was hope of his recovery, but on November 4, 1847,
Felix Mendelssohn, a young man of thirty-eight, was dead. All of
Germany mourned "as if a king had died." What he left as a monument
were major orchestral works, symphonies, piano and organ music and
WEDDING MARCH Vanguard SRV - 161SD
A Midsummer Night's Dream Everymen Classics
THE PER CU SSION SCORE
Percussion Score - WEDDING MARCH
See the outside back cover of "Symphony Stories"
Tea chin g_ P r ocedures
1. Have each child prop up the score on his desk or table by placing
a thick book on top of page 16.
2. The percussion score is for classroom use only. Be sure that your
children understand this. Do not bring percussion instruments to
3. Before rehearsing the score have all the required instruments at
each child's place ahead of time.
H ere are the instruments needed :
4. Let the children listen to the recording several times. The score
is written to the first part of the WEDDING MARCH. Start the record
player at the beginning of the fourth band. Pick up the needle at
the conclusion of the third theme. This is explained on page 6. Use
the outline here as a guide until you are familiar with the stopping
5. Looking at the percussion score, let the children identify the meter
(4/4). Note that this is a march, beginning with a triplet on the
fourth beat. In conducting, this is an upbeat on "four."
6. Count the meter out loud, clapping the first beat in each measure:
Four / One Two Three Four / One Two Three Four / etc.
7. In each measure there are four quarter notes - or their equivalent.
Have the children find different note patterns, write them on
the board, then clap or play them with a drum:
*j * J J i " j ji j n i
f J JTJ J Al | H J. J J. J> |
II. Song: THE STAR-SPANGLED BANNER
At your North Carolina Symphony concert children in the audience
will sing two stanzas of the National Anthem with the orchestra.
Teach the song in the key of A flat, as printed in Symphony Stories .
Code for the National Anthem of the United States - Authorized service
version in A flat, with recommendations for performance.
No. 4004 20 copies for $1.00.
Order from M E N C Publication Sales, 1902 Association Drive,
Reston, Virginia 22091 .
Sound Filmstrip Set No. 39 - The Star-Spangled Banner - also includes
Clementine, The Erie Canal and She'll Be Comin 1 Round the Mountain.
Order from Weston Woods, Weston, Connecticut 06883
Customer Service will accept your order or answer your questions by
telephone. Call collect — (203) 226 - 3355.
STORY OF THE STAR-SPANGLED BANNER
The Star-Spangled Banner did not officially become our national anthem
until March 3, 1931, when President Hoover signed Public Law 823, passed
by the 71st Congress. The bill was passed despite much controversy over
the suitability of both the words and the music. Critics contended that
Francis Scott Key's poem celebrated a minor incident in our country's
history with words hard to remember, set to an English drinking song with
no patriotic significance. However, the famous American band king,
John Philip Sousa, had this to say about the Star-Spangled Banner:
"What matter the words? The spirit is what counts . . .
It is a splendid march and no true American can fail to
be stirred when it is played."
And Americans who sing the song cannot fail to be impressed by the fact
that this is a true "flag song" which expresses a deep feeling of loyalty
to our country and reverence for the stars and stripes.
The song was written in the summer of 1814 when America was fighting its
second war with Great Britain. The British fleet expected to move into
Chesapeake Bay and attack the city of Baltimore from the harbor guarded
by Fort McHenry. At about this time Dr. William Beanes of upper
Marlborough, Maryland, led a party of local citizens in arresting and
jailing some British Army stragglers who were creating a disturbance in
a local tavern. Because he had attacked a British soldier he was arrested
and confined on the Admiral's flagship. Two of the doctor's friends,
John S. Skinner and Francis Scott Key, a young lawyer practicing in
Baltimore, went on a small cartel boat under a flag of truce to plead for
his release. The Admiral agreed, but since the fleet was making last-minute
preparations for the bombardment Doctor Beanes and his friends were trans-
ferred to the cartel boat and held through the night. Here they watched,
as bombshells exploded, to see if the flag was still flying over Fort McHenry,
When Francis Scott Key "in the dawn's early light" first saw that the flag
"was still there" he took an envelope from his pocket and jotted down the
first stanza of the celebrated song.
The Star-Spangled Banner, continued
As soon as the firing was over the three captives were free to return to
Baltimore. On the way back to the city Mr. Key completed the three
stanzas, and took them to his brother-in-law, Judge Nicholson. Together
they went to a printing office and had the poem set in type as a handbill
or broadside for distribution. At the suggestion of the judge a note on
the handbill said that the words were to be sung to the tune, Anacreon in
Heaven . The Baltimoreans accepted the song instantly. That yery night
in a tavern Ferdinand Durang, an actor, stood on a chair and sang it.
Everyone was familiar with the tune of the drinking song, and on this his-
toric occasion the popularity of The Star-Spangled Banne r was assured.
The original copy of Francis Scott Key's poem, written on September 14, 1814,
was acquired by the Maryland Historical Society for $24,000, and is considered
one of its most prized exhibits. The famous flag over Ft. McHenry, measuring
thirty- two by forty feet, was made by a Baltimore seamstress, Mrs. Mary
Young Pickersgill and her twelve-year old daughter for a fee of $400.00.
During the siege it was damaged by eleven holes from bombshells. Repaired to
a reduced size, and mounted on a canvas backing, it is now on exhibit at the
Smithsonian Institution in Washington, D. C.
About Flag s
Your children may become interested in learning more about flags, and finding
songs that have been written about them. Look through your school music
textbooks. Let the librarian help by suggesting books, pictures and films
or films trips.
In early times there were many different kinds of flags in America, repre-
senting the nations which had settlements in the New World. During the
provincial period the English flag, with numerous variations was used from
Maine to Georgia. The first flag of the thirteen colonies, 1776, had thir-
teen red and white stripes with the red cross of St. George and the white
cross of St. Andrew on the blue union.
The first truly American flag, originating as the result of legislation by
the new United States Congress, on June 14, 1777, had thirteen red and white
stripes with thirteen white stars in a circle on a blue field.
When Vermont and Kentucky were admitted as states, there were fifteen stars
in three rows of five each, and fifteen alternate red (eight) and white
(seven) stripes. This was our American flag in the War of 1812 between
England and the United States, and the one to which The Star-Spangled Banner
About the Author of the Words
Francis Scott Key's main claim to fame was as author of the words to
The Star-Spangled Banner , written when he was thirty-four years old. He
became a distinguished lawyer, and attorney-general of the District of
Columbia. A volume of his verses was published fourteen years after his
death on January 11, 1843. Today a flag always flies over his grave in
References from The Story of Our National Ballads by C. A. Browne
( C rowel 1, New York)
III. THE FIREBIRD BALLET SUITE
The Infernal Dance of King Kastchei
Stereo S - 60022
When Igor Stravinsky's Firebird was first produced at the Paris Opera in
1910 it was the beginning of a great collaboration between the composer and
Serge Diaghilev, Director of the world-famous Russian Ballet. The work,
which Diaghilev had commissioned, was based on an old Russian folk tale.
The story of the ballet is printed in Symphony Stories. When the children
have read the story you may want to reinforce it by showing a filmstrip.
Talk about the story, then discuss the characters:
The terrible ogre, Kastchei
His wicket demons
The people turned to stone by Kastchei 's evil power
The hero, Prince Ivan Tsarevitch
The beautiful Princesses
The Firebird's magic golden feather
Listen to the music several times, then invite children's ideas on what they
would like to do. Among many possibilities they may suggest dramatizing or
pantomiming the characters; moving to the music; painting pictures or finger
painting; writing and producing a puppet show; producing a play; making
costumes, etc. etc.
Some children will be happy JUST LISTENING TO THE MUSIC. Stravinsky is the
kind of composer who needs to be listened to and absorbed over a period of
time. Concentrate on providing a quiet, relaxed setting. Be an attentive
THE INFERNAL DANCE OF KASTCHEI comes near the end of the ballet. It is
followed by a quiet Berceuse and the Finale . The Dance, like the Dance of
the Adolescents in the Sacre du Printemps is made of driving rhythms such
as only Stravinsky could write. The overpowering effect of the story --
evil destroying itself -- may be the only highlight the listener is capable
of absorbing. As the record is heard a number of times in the classroom
a few of these details may become recognizable:
1) The relentless pounding pulse, first heard in the timpani
2) Syncopated rhythms -- misplaced accents
3) Sudden very loud accents played by the entire orchestra
4) Changes of meter — 3/4; 2/4; 6/4; 2/2; etc.
5) Some outstanding instruments--flute & piccolo; trumpet; horns;
harp; bassoons; clarinet
6) Strings -- used percussively
7) Chromatic and whole tone scales
About the Composer
...Igor (Feodorovich) Stravinsky was born on June 17, 1882 in Oranienbaum, Russia,
a village near St. Petersburg.
...He was brought up in a musical atmosphere and became an accomplished pianist at
an early age.
...Igor's father was the leading bass singer at the Imperial Opera and often took
him to St. Petersburg to listen to rehearsals and attend performances.
...Igor had a great gift for reading music and was often found in his father's
library browsing through opera scores. He became familiar with many operas
before hearing them in live performance.
...Despite their young son's musical talents, Igor's parents decided he was to
become a lawyer. So they sent him to study law at the University of St. Petersburg
Much as he disliked what he considered to be a "dry subject," he completed his
course of study in 1905.
...By now, he knew that he wanted to become a musician. He married his cousin, who
understood how much he loved music and gave him every encouragement to give up law.
...The turning point in his life was when the great teacher and composer, Rimsky-
Korsakoff, took him as a pupil. From this master he learned the art of orches-
tration, and the two became great friends.
...To commemorate the marriage of Rimsky-Korsakof f ' s daughter, Stravinsky composed
an orchestral work, "Fireworks." As a surprise gift, he sent it to his teacher's
summer place. The package came back unopened. Rimsky-Korsakof f had died a few
...Stravinsky's career as a composer was established with the success of his Firebird
Ballet. On the opening night, Debussy rushed backstage to congratulate Stravinsky.
From now on, Diaghilev depended on Stravinsky for his most important ballet scores.
...Stravinsky's married life was a happy one. The Stravinskys had four children —
two boys and two girls.
...Stravinsky visited the United States for the first time in 1925 and returned
a number of times to direct orchestras in the performance of some of his most
...Harvard University invited him to give a series of lectures in 1939. Eventually,
in 1941, he became an American citizen.
...Soon after 1941, he married his second wife, Vera, and settled in Hollywood.
They had a beautiful home and entertained visitors from all over the world.
...Stravinsky's son, Soulima, became a fine pianist. His older son, Theodore, who
lives in Switzerland, is talented in art, as well as being a fine photographer.
...Stravinsky's deep roots were always in Russia. Having been exiled during the
war years and considered a traitor to the values of Soviet Russian society, he
was deeply moved by the warmth of his reception when, after fifty years, he
returned for a visit to his native land.
IV. FIFTH SYMPHONY -- Op. 67, in C Minor Columbia
First Movement Odyssey 34600
Ludwig van Beethoven
1770 - 1827
Beethoven's Fifth Symphony as described by Charles O'Connell in his book
of Symphonies, is "ruthless, blazing, cosmic," not an expression of
one man's thought or feeling, but "the utterance of a tormented and
puzzled and cynical and hopeful -- and finally triumphant humanity."
The music was developing in the mind of Beethoven for many years.
Beethoven left no program for this symphony although the first four
notes, identified as "fate knocking at the door" has taken root in the
minds of listeners throughout the years. Other than listening to the
music enough times to hear and recognize the two themes, it would seem
best for children not to enter into the complexities of trying to analyze
the structure. Learning about sonata-allegro form may interfere with
the enjoyment of this great music. With further acquaintance over a period
of time, it might be quite appropriate.
The themes are written in Symphony Stories . Let children sing them, and/or
play them. As they listen to the recording, help them to focus on dis-
covering the themes when they are repeated. Perhaps some of them will be
able to recognize the use of different instruments in the repetitions.
Other aspects of the music to "discover" are Beethoven's violent sudden
contrasts in dynamics -- from loud to soft -- and his change of mood
from a raging defiance to a gentle tenderness.
About the Composer
...Ludwig von Beethoven was born at Bonn on the Rhine River, December 16, 1770
and was baptized the next day, December 17. He died in Vienna on
March 26, 1827.
...Beethoven was of Belgian descent. His grandfather and father were both
musicians. The grandfather, Ludwig van Beethoven, was bass singer, opera
composer, and Kapellmeister at Bonn to the Elector Clemens August. His
father, Johann, was a tenor singer in the Electoral choir. He married
Maria Magdalena Laym, the widow of the chief cook at Ehrenbrei tstein.
...There were three children: Ludwig and his brothers, Karl and Johann. They
grew up in great poverty, were shabbily dressed and ill cared for.
Father Johann spent many hours drinking with friends at a tavern. Ludwig
loved his mother deeply as did his brothers. They always remembered her
birthday with garlands of flowers--for they were too poor to buy presents.
There was no companionship between the young Ludwig and his parents. When
he grew up he revered his mother in retrospect, but memories of his father
were tinged with bitterness and shame.
...Father Beethoven, realizing that Ludwig had musical talent, wasted no time
pushing him to early training at the keyboard. By four he was at the clavier,
forced to practice for hours, sometimes weeping as he stood on a little
footstool. The story is told of how his father, with his tavern cronies,
often woke the child up at midnight, and forced him to practice until dawn.
About the Compose r, continued
...Despite the hardships of his early musical training there were some
brighter aspects of his father's ambition. By seven Ludwig was
performing in public. He was given lessons on the violin, viola
and organ, and he was beginning to compose.
...When Ludwig was nine he was fortunate in falling into the hands of a
really fine teacher, Christian Neefe, who introduced him to the works
of Bach. Neefe was a court musician and often allowed the boy to
substitute for him at the organ. Ludwig did so well that he was
appointed assistant court organist with a small salary. What a break
for a thirteen-year old student!
...At sixteen Ludwig went to Vienna where he played for Mozart. The
great Mozart was impressed with his ability to improvise and is said
to have remarked: "Keep an eye on that young fellow. Some day the
world will hear from him."
...Beethoven had been in Vienna only a short time when he was recalled
to Bonn because of his mother's death. This was his first great
sorrow. It was made almost unbearable by the shame of seeing his
dead mother's clothes sold in the market place. For a few pennies his
father had given them to some peddlers.
...Ludwig was now in charge of the two brothers, and it was some time
before he could return to Vienna. In 1792 Haydn passed through Bonn on
his way home from London. After seeing some of Beethoven's compo-
sitions, he urged him to leave Bonn and come back to Vienna. He even
promised to teach him.
...Within a year after Ludwig' s return to Vienna he had made his way
into the highest circles of artists and art lovers, and had patrons
who were princes. The lessons with Haydn proved to be disappointing,
but he was now on his own, creating from his great inner resources,
and breaking the ties with tradition.
...Despite his glorious successes in Vienna there were bitter years ahead
for the budding composer. By 1300 he began to suffer from deafness.
As the malady progressed and Beethoven was no longer able to conceal it,
he wrote letters to his friends, telling how he had struggled to ignore
it. "For two years I have avoided almost all social gatherings because
it was impossible for me to say to people, 'Speak louder, shout, for I
am deaf.' If I belonged to any other profession it would be easier."
In 1802 he wrote to his brothers, "What humiliation when someone stood
by me and heard a flute in the distance, and I heard nothing."
...The tragedy of total deafness did not impede the flowering of Beethoven's
innate genius; 1800 to 1815 were some of his most productive years.
Then in 1815 his brother Karl died, leaving a nine year old son to be
cared for. Being a loyal family man Beethoven felt it was his duty to
About the Composer , continued
take over the responsibility of raising his nephew. In his ill-kept
bachelor's quarters with a series of incompetent servants this proved
to be an unrewarding and distracting task. Nor did the nephew Karl
bring to the household anything but trouble. Despite his famous uncle's
pleading he neglected his studies at the university, piled up debts,
ran away, and finally in the summer of 1826 tried to commit suicide.
...To help Karl recover from the pistol wounds on his head, Beethoven
took him to his brother Johann's country home for a visit. Two
months later, in December, Beethoven and Karl started back to Vienna,
traveling in an open cart. The weather was bitterly cold, and due to
exposure Beethoven suffered an attack of pneumonia, followed by dropsy
and other complications. After several unsuccessful operations he
died. It was reported that in the moment before his death there came
a flash of lightning and a clap of thunder. As a last defiant gesture
he opened his eyes and raised his right hand with a clenched fist.
...Beethoven's funeral was attended by twenty thousand people. Among
them were musicians, actors, titled personages, all there to pay homage
and express their regret that so great a genius was gone. The schools
were closed. As the mourners gathered around the bier, priests recited
the solemn office of burial, and boys' choirs sang the composer's own
...Beethoven had two life-long passions besides his music--his love of
liberty and of the world of nature. He wandered in the woods and
fields in all kinds of weather, shouting, singing, and waving his arms
as new ideas came to him. From his nature note books the following
quotation is taken:
"0 God, what glory
In such a woodland placel
On the heights is peace --
Peace to serve Thee —
How glad am I
Once again to be able to wander
In forest and thicket
Among the trees,
The green things and the rocks.
No mortal can love the country as I do;
For woods and trees and rocks
Return the echo
A man desires."
A Musical Comedy- -Overture
1898 - 1937
GIRL CRAZY is a musical comedy in two acts with music by George Gershwin
and song lyrics by his brother, Ira. The book is by Guy Bolton and
John McGowan. The first performance, on October 14, 1930, at the Alvin
Theatre in New York was a smash hit, followed by a long successful run. Ethel
Merman made her debut on Broadway in the show. Dressed in a tight black satin
skirt slit to the knee and a red blouse, her personality kept the audience
spellbound. But it was when she sang "I Got Rhythm" and held a high C for 16
bars that her future stardom was assured. After a quarter of a century the
star is stil 1 shining!
The plot is slight, dealing with cowboy life on a dude ranch in Arizona. On
the opening night Allen Kearns, a Gershwin "regular," played the role of
Danny, a wealthy New York playboy, wild about girls. Banished by his father
to Custerville, a dusty one-hotel town in Arizona, Danny arrives in a taxi,
driven by Gieber Goldfarb. Goldfarb, with his comic Yiddish accent, played
by Willie Howard, decides to stay in Custerville and run for sheriff. He
next appears in a Western cowboy hat, cowboy clothes, gun belt and spurs with
a sheriff's badge pinned to his belt. Danny finds Custerville too dull and
opens a dude ranch with imported New York chorus girls, a gambling room and
a bar to encourage "high living." Ether Merman played Kate, wife of the
gambling room proprietor. Danny's plans change when he falls in love with the
town post mistress, pretty Molly Gray, played by Ginger Rogers. Wandering in
and out across the scene is a foursome of lazy, tired cowboys, accompanying
themselves on a tin flute, Jew's harp, occarina and harmonica. One New York
critic described GIRL CRAZY as "never-ending bubblingly pure joyousness."
In the orchestra, playing for the premiere, were musicians who later became
famous for greatness in jazz. In the beginning of the Jazz era when some
people refused to call it music, George Gershwin had a witty answer:
"Jazz js music, jazz uses the same notes that Bach used." Gershwin believed
that jazz was an American achievement because it came from the heart.
Following the score of the Overture you will discover these rhythmic patterns:
1 ) Allegro Marcato
2) Embraceable You
3) I Got Rhythm
4) Allegretto con moto
5) Molto moderato
> > > > > >
; rn ' fl t il)
Musical Highlights , continued
The Overture to GIRL CRAZY is made up of a number of musical themes from
the show alternating with short interludes. Interest is maintained by a
change of keys, of tempo, of rhythmic patterns with syncopation, and by
colorful orchestration. In the fast interlude ( Vivamente ) near the close there
is a surprising appearance of Chinese wood blocks. There are no sagging moments
to dull the brilliance of Gershwin's talent for writing jazz. The two main
melodies, "I Got Rhythm" and "Embraceable You" are woven into the fabric of the
Overture, returning as episodic snatches.
Play the recording as many times as necessary for the children to recognize
the two main themes - "I Got Rhythm" and "Embraceable You." If movement
is suggested there might be a group of dancers for each song. Then perhaps
individual children could move in the interludes. Work towards encouraging
children's original ideas. Would finger painting be appropriate? Might
certain well chosen instruments play in the interludes?
About Jazz and the Composer, George Gershwin
John Tasker Howard ( Our American Musi c) considers Jazz to be the descendant
of Ragtime, a form of syncopation that became popular bout 1895. Jazz was
developed by improvising original melodies on a clarinet while a pianist or
cornetist played the tune. It became a highly sophisticated form of light
music before there was any thought of writing it down. It was the vogue in
expensive cafes and night clubs, attracting the attention of serious musicians
al 1 over the world.
The Jazz craze in this country really began when New Orleans bands went to
Chicago, in 1915 - 16. Among the early "greats" was Ted Lewis of Circleville,
Ohio. He learned to play the clarinet and was so good that he became the star
performer with Earl Fuller's band at Rector's in New York. He played his
clarinet and had as helpers a piano player, cornetist, trombonist and drummer.
The cornetist and pianist stuck to playing the tune while the drummer busied
himself with throwing his traps in the air, pounding the bass drum with his
feet and holding a whistle in his teeth. Ted Lewis pranced around with a
battered top hat on one side of his head, making his clarinet squeal like a pig.
This type of "hot" jazz was on the wane when Paul Whiteman organized a band
of his own and changed the trend by creating a new sound that came to be
known as symphonic jazz. It was in 1924 that Whiteman took jazz into the
concert hall with a performance called "An Experiment in Modern Music," to
show what symphonic treatment could do for popular tunes. This is where
George Gershwin entered the picture. The most important part of the concert
was the Rhapsody in Blue , commissioned by Paul Whiteman for the celebrated
occasion. Gershwin wrote the R hapsody in Blue in ten days. It was orchestrated
by Ferde Grofe. The clarinet beginning was a stroke of genius. The Rhapsody
was an immediate success and George Gershwin became famous over night. Since
its first performance the Rhapsody in Blue has become the most widely and often
played orchestral work of an American composer. As for the opera, Porgy and Bes s,
which has played to audiences around the world, speaking eighteen different
languages, there has been no greater or better advertisement of our country
any time, any where.
VI. Song: I'D LIKE TO TEACH THE WORLD TO SING
The second song for children to sing at the Symphony concert is I'D LIKE TO
TEACH THE WORLD TO SING. It is printed on the inside back cover of
Children should memorize the song to sing with the Orchestra. They are not
permitted to bring copies of the words or music into the concert hall. In
preparation for the concert practice the song without the help of a piano.
Autoharps, as shown in the score on page 16 of "Symphony Stories," may be
used to hold the rhythm together, or a drum might play lightly on the first
beat of each measure.
Before the audience stands to sing with the orchestra a selected school
instrumental group will play the song through once. Children chosen to take
part in the instrumental group must be rehearsed in every participating
school. The groups should be taught to play in exactly the same way, and
at the same tempo. The instrumental group will not play with the orchestra.
It is "on its own" with the direction of a teacher.
INSTRUMENTS TO BE INCLUDED IN THE CHILDREN'S PLAYING GROUP
Winds Recorders, flutes, clarinets (transpose song to key of G.)
small winds, such as tonettes, song flutes, and melody flutes
Bells Melody bells, xylophones, resonator or tone bells.
Strings Violins, psalteries, cellos, violas.
Autoharps Autoharp players follow the chords as written above the
score. Play two F chords as an introduction.
Percussion Maracas and tambourines.
All the wind instruments and strings play the entire song.
Add bells on the third, fourth, and seventh lines.
Shake tambourines and maracas on the seventh and eighth
lines, following the rhythmic pattern of the song. On the
repeat, tambourines and maracas play on the fifth and
After the instrumental group has played the song, the
conductor will invite the audience to stand. Tell your
children to watch for the signal to stand, and to keep
watching the conductor at all times during the singing
of the song.
VII. CAPRICCIO ESPAGNOL Columbia Y30044
Fourth Movement - Scene and Gypsy Song Odyssey
Fifth Movement - Fandango Asturiano
The success of Rimsky-Korsakoff 's CAPPRICIO ESPAGNOL was assured from
the night of its first performance in St. Petersburg on October 31,
1887. When the orchestra applauded at the end of each movement
Rimsky-Korsakoff decided to dedicate the work to them. On the fly
leaf of the printed score he listed the names of all sixty-seven
Before writing the Capri ccio Espagnol Rimsky-Korsakoff had sketched a
virtuso fantasy for violin and orchestra on Spanish themes. He thought
the orchestra would play a secondary role to the solo instruments.
Later he re-wrote the fantasy for orchestra alone. Tchaikovsky saw the
score before it was performed and wrote to Rimsky-Korsakoff:
"Your Spanish Caprice is a colossal masterpiece
of instrumentation and you may consider yourself
as the greatest master of the present day."
It was all very well to be considered a master of instrumentation, but the
piece was not an exercise in instrumentation. As Rimsky-Korsakoff always
pointed out, Capriccio Espagnol was "a composition for orchestra."
The music is colorful and the orchestration brilliant. In explaining how
he achieved the musical effects, Rimsky-Korsakoff mentioned "the change
of timbres, melodic designs and patterns suiting each kind of instrument;
virtuoso cadenzas for solo instruments; and the rhythm of percussion
There are five movements, played without pause:
I. "Alborada" (Morning Song)
The two principal themes are played by full orchestra
II. Variations. Arpeggios for violin lead to variations.
After the horn plays the theme there are five brief
variations; a flute solo, then a return to
III. "Alborada" in a different key
IV. Scene and Gypsy Song
Roll on the side drum -- brasses
V. Fandango Asturiano
Rhythmic theme for trombones
Dance in triple time, accompanied by castanets
At the concert the orchestra will play only the fourth and fifth movements.
Musical Highlights , continued
SCENE AND GYPSY SONG
legretto, Key of d minor 6/8
Opens with strong fanfare played by horns
Cadenza I - Horns and trumpets with drum, triangle, and
tambourine shaking underneath for 13 measures
Cadenza II - Solo violin (conforza e capriccioso) for 11 measures
Interlude -- 4 measures
Timpani, tambourine, cymbals, violins
SOLO -- Flute and clarinet (dolce)
Accompaniment underneath -- timpani, tambourine, cymbals, violins
Main melody (song) 7 measures
Cadenza III -- Flute
Accompaniment underneath - timpani, triangle for 4 measures
Cadenza IV - Clarinet and cymbals with sponge mallets for 3 measures
SOLO -- Oboe for 5 measures
Main melody (song)
Accompaniment - bassoon and triangle
CADENZA V - Harp glissando ad lib for 5 measures
Second theme (dance) -- violins f eroce
Cymbals for 3 measures
Interlude - 2 measures
SOLO -- Flute, clarinet, strings for 10 measures
Main melody (song)
Second theme (dance) -- violins 6 measures
Interlude -- 2 measures
SOLO -- Piccolo, oboe, violins for 9 measures
Main melody (song)
SOLOS -- Oboe, clarinet
Violins plucked like guitars (pizzicato)
Second theme (dance) 14 measures
Flute, oboe, bassoon
Harp chords plucked
SOLO -- Woodwinds with string accompaniment for 8 measures
Main melody (song)
Then main melody (song) goes to strings with
woodwinds accompaniment for 7 measures
Musical Highlights , continued
IV. SCENE AND GYPSY SONG
15) Second theme (dance)
Strings - 8 measures (spiccato)
Last three measures - Strings, woodwinds, brasses,
percussion and the entire orchestra building up to Fandango.
V. FANDANGO ASTURIANO
Allegro, Key of A Major 3/4
1) Main theme - trombones
2) Related theme - woodwinds
3) Both themes again with variations and solo cadenzas
4) Main theme - trombones
5) "Alborada" from first movement ends the work as an exciting Coda
IV. SCENE AND GYPSY SONG
Main Melody (Song)
MrHH^frf I P rr^i 1 M ' r; I n^TrWrT^ f
Second Theme (Dance)
V. FANDANGO ASTURIANO
Main Theme - Trombones
rfrrf i raff ia
Related Theme - Woodwinds
About the Compose r
...Nicolai Rimsky-Korsakoff , the second son of a retired government
official, was born in the small Russian town of Tikhvin in 1844.
His older brother was twenty-two and away at sea. As with most
wealthy families the young men were destined for a career in the Navy.
...In his early years Nicolai loved books but showed little interest
in music. So when the time came he entered the Naval College in
St. Petersburg, graduated, and was ordered off on a three-year cruise.
...Sometimes he played the piano on board, and when the ship was in port
he heard opera and went to concerts. For three weeks the ship was at
anchor in New York. He enjoyed hearing American popular songs which he
described as "plaintive and sweet." In his diary he told how the Ameri-
cans at their own expense took him and his friends to Niagara Falls and
put them up in a magnificent hotel.
...Back in St. Petersburg he began to realize that he was more interested
in music than in anything else. He loved the music of Beethoven and
Mendelssohn. The orchestra fascinated him -- it was like a great color
box. His drive to become a composer led him to seek out kindred spirits.
He soon was associated with the famous "Kuchka" -- the Russian "Five."
...In the group were Balakirev, a trained musician; Borodin, a pianist and
Chemistry Professor; Cui , an engineer, and Moussorgsky, an officer of
the Imperial Guards. All wanted to create truly Russian music, written
on native folk themes.
...With Balakirev's help and his own determination, Rimsky-Korsakoff was
on the right path. He composed a symphony, several orchestral pieces
and his first opera. No one ever worked so hard at learning the
technics of composition.
...At twenty-seven Rimsky-Korsakoff was asked to join the staff of the
St. Petersburg Conservatory as professor of composition and orchestration
and as conductor of the school orchestra. He admitted that he "knew
nothing," but at Balikirev's insistence he accepted.
...Rimsky-Korsakoff relates how he eagerly got information from students.
"At first the pupils did not know I was ignorant. By the time they
began to see through me I had learned something myself."
...Through determination and genius he became a brilliant professor.
Twenty-five years later the Conservatory honored him. He wrote his
famous "Treatise on Instrumentation" after learning to play all the
instruments and becoming an authority on the subject.
...Rimsky-Korsakoff had a \/ery happy home life with his wife and seven
children. They spent their summers at the seaside or in the country and
their winters in St. Petersburg.
...Until the end of his life, Rimsky-Korsakoff was always busy, editing the
works of friends who were composers, and helping young artists.
MOVEMENT AND MUSIC
Freedom in Movement Expressi o n
ONE DISCOVERY OF PRIMITIVE MAN was that sound and movement expressed his
feelings better than the language he had invented. As he saw beauty,
felt love, anger or grief, he needed ways of expressing himself that
went beyond words. When a friend of Felix Mendelssohn composed some
words to be set to one of his "Lieder" he returned them, saying:
"Music is more definite than speech, and to want to explain
it by means of words is to make the meaning obscure. . . .
Words seem to me vague if we compare them to true music
that fills the soul with a thousand things better than words."
THROUGH RHYTHMIC GESTURES of hands, arms, shoulders, head, feet and torso,
dancing came to include every movement the body was capable of making,
even the fluttering of eyelids. As with primitive man the many non-word
ways of communicating are a vital and important part of a child's
growing up, and a means of helping him to identify meaningfully with
the world around him. Structural limitations, imposed too early from
an adult standard can hamper and delay the process.
MUCH OF CHILDREN' S BODY MOVEMENT comes from an innate necessity to move
and a love of movement for its own sake. Joan Russell, a leading
authority on Modern Dance Education asserts:
"The child must be free to experience dance which grows
directly from his personal movement expression."
IF THIS PHILOSOPHY needs any reinforcement, it was expressed on the occasion
of the Scripps American Dance Festival award to Martha Graham:
"To Martha Graham, most American of artists whose genius
is synonymous with the modern dance. Great dancer and great
choreographer, she is a supreme innovator.
In her invention of an entire new idiom, she has contributed
an unprecedented technique to the vocabulary of dance. Pioneer
of a new art form, she has had unequaled impact throughout the
world. Eloquent in her absorption in mankind's tragedy and
comedy, she has created a theater that is rich in association
and spare in its focus on essence.
IN HER BELIEF THAT INNER EMOTION IS REVEALED THROUGH
MOVEMENT, SHE HAS BARED THE MOST HIDDEN OF PASSIONS."
MARTHA GRAHAM'S OWN WORDS as a part of her acceptance were: "Everyone
has only one truly personal possession — his own body."
TEACHERS WHO ARE HELPING CHILDREN to understand music should not be
concerned with structured "dancing" but rather with freeing them
to express their inner feelings through body movement.
T y P
Jumping, running, walking, marching, hopping on one
or both feet; galloping, tip-toe stepping; sliding,
stamping; leaping, kicking, whirling, turning; skipping.
shaking, bending, twisting, stretch-
rolling; moving head, shoulders,
' ained movement with arms,
Swinging, swaying, shaking, bending, twisting, stretch-
ing; crawling, rocking, rolling; moving head, shoulders,
hands, ankles, wrists; sustained movement with arms,
backs, legs, hands, fingers, toes, eyes, mouths;
fast percussive movement with arms, backs, legs, hands,
fingers, toes, eyes, mouths
ua^^a, j-cgo, nauuo,
fast percussive mov
fingers, toes, eyes
Combinations — Run and jump; skip and whirl; walk and leap; whirl
and fall down; swing, bend and stretch; rock and
II. FREE MOVEMENT STIMULATED BY OBSERVATION OF THE ENVIRONMENT
Animals & —
Mother, father, grandparent, baby, postman,
policeman, milkman, tennis player, gardener,
garbage man, house painter, nurse, doctor,
dentist, old lady, musician, orchestra conductor
Dogs, cats, squirrels, birds, frogs, worms,
caterpillers, mosquitos, grasshoppers, cockroaches,
ants; Animals of farm, circus, and zoo
Egg beater, windshield wiper, washing machine, dish-
washer; train, boat, airplane, helicopter, space
ship; Steam shovel, crane, wheels, bicycles, clock
parts; oil well pump, printing press, bulldozer
Rain, snow, hail, wind, fog, lightning, hurricane,
waterfall; planting, harvesting; movement of
planets; landslide, earthquake, explosion of volcano
III. FREE MOVEMENT STIMULATED BY A MOOD OR EMOTION
Mood — Angry, bored, sad, happy, quiet, sleepy
Emotion — Joyful, surprised, funny, crazy, depressed
IV. MOVEMENT STIMULATED BY SOUNDS
Outdoors — Lawn mowers, sirens, ambulances, fire trucks,
automobile horns, clock tower chimes, loudspeakers
Indoors — Ticking clocks, alarms, refrigerators, furnaces,
V. MOVEMENT SUGGESTED BY VISUAL STIMULI
Picture or — Response to linear design, texture, color;
Textile Design Wallpaper pattern
VI. CREATIVE MOVEMENT ORIGINATING WITH IDEAS IN:
A Story , Opera , Play , or Poem
An incident narrated by a child
VII. FREE MOVEMENT STIMULATED BY LISTENING TO MUSIC, EXPRESSING AN AWARENESS OF:
Dynamics (Loud - soft)
Tempo (Fast- slow)
Pitch (High - low - same)
Duration (Long - short)
Melodic direction (Up, down, same, skip, repeat)
Pattern (Even - uneven)
Staccato (Bumpy, rough)
Legato (Smooth flowing)
Meter (Two, Three, Four, Five, Six, Seven, Nine, Eleven, etc.)
Stanza - Refrain
Mood (Scary, sweet, sad, exciting, happy, pompous)
Form or Structure
ABA A A B B
ABC AAAAA, etc.
RONDO A B A C A D A
A TIP : Let the music tell the child through repeated listening,
Call each musical term by its right name.
Books Filmstrips Films
About Instruments and the Orchestra
For the Teacher
Stewart, Madeau THE MUSIC LOVER'S GUIDE TO THE INSTRUMENTS Van Nostrand
OF THE ORCHESTRA Reinhold Company
Foreword by Yehudi Menuhin
This is a fine reference book for all
school libraries. The English author,
Madeau Stewart, a professional musician,
discusses the eighteen principal instru-
ments that make up the modern orchestra
in the order in which they appear on the
page of a score - from piccolo to double
bass - and explains how each works and how
it is played. She discusses the main stages
in the development of the instruments with
illustrations of orchestral repertoire. The
book is lavishly illustrated with pictures
in full color. In the preface Berlioz is
quoted as saying:
"It is not enough that the artist
should be well prepared for the
public, the public must also be
well prepared for what it is going
For the Child THE BOY WHO LOVED MUSIC Viking
This is the story of Karl, a young horn
player, and his life in the great European
castle of Esterhaza. It is based on his-
torical fact, the composition of Haydn's
"Farewell" Symphony, in 1772. Colorful
Note: Both books from Raleigh-Wake County,
Supervisor's Music Library
Johnson, Ann D.
Mir sky, Reba Paeff
Young, Percy M.
THE VALUE OF GIVING — The Story
LUDWIG BEETHOVEN AND THE CHIMING TOWER
Harper & Row
Oak Tree Publications
BEETHOVEN — A STORY IN PICTURES
Filmstrip with sound
Part 1 and Part 2
BEETHOVEN — Great Composers Series
Color filmstrip with sound
BEETHOVEN — 19 Slides (black and white)
VIENNA, CITY OF MUSIC — 71 slides (black and white)
Order from Austrian Institute, 11 E. 52nd St., New York 10032
Slides are free — borrower pays return postage
Los Angeles 90039
Holyoke, Mass. 01040
Jablonski, Edward &
Stewart, Lawrence D,
GEORGE GERSHWIN, MAN AND LEGEND
GEORGE GERSHWIN: YOUNG COMPOSER
Children Grades 3-7, illustrated
GEORGE GERSHWIN — HIS JOURNEY TO
GREATNESS, Same title
THE LIFE AND MUSIC OF GEORGE GERSHWIN
THE GERSHWIN YEARS
Duel, Sloane, Pearce
Kimball & Simon
GERSHWIN, HIS LIFE AND MUSIC
Upper Grades, illustrated
SCOTT JOPLIN AND THE RAGTIME YEARS
Jacob, Heinrich E.
FELIX MENDELSSOHN AND HIS TIMES
FELIX MENDELSSOHN: HIS LIFE, HIS FAMILY, Scribner
MENDELSSOHN: HIS LIFE AND TIMES
Abraham, Gerald E,
THE HISTORY OF MY MUSICAL LIFE
THE FIVE (Russian)
A M S Press
A M S Press
J. A. Joffe,
Craft, Robert &
IGOR STRAVINSKY: HIS LIFE AND TIMES
AND MUSIC AT THE CLOSE: STRAVINSKY'S
POETICS OF MUSIC IN THE FORM OF SIX
CATHERINE AND IGOR STRAVINSKY
Boosey & Hawkes
Young, Percy M.
The Heart of the Orchestra
The Beat of the Drum
Sinner - S V F,
1345 Diversev Pkway,
Color Filmstrip with cassette
Once Upon a Sound - Set of four
to familiarize children with the
sounds and appearance of instruments,
one from each of the four basic sections
brass, woodwinds, strings and percussion
Jam Handy - Scott
THE FOLLOWING FILMSTRIPS MAY BE ORDERED FOR 30-DAY
PRE -VIEW - NO CHARGE EXCEPT RETURN POSTAGE.
Cat. No. 506
Cat. No. 505
Folk Songs and the American Flag
2 color filmstrips, 2 records
Performed by Burl Ives
Folk Songs in the War of 1812
2 color filmstrips, 2 records
Performed by Burl Ives
Plepsantville, N. Y.
FILMSTRIPS AND RECORDINGS MAY BE ORDERED ON 30-DAY
APPROVAL. MATERIALS NOT RETURNED WITHIN THAT TIME
WILL BE INVOICED.
Customer Service will accept your order or answer your
questions by telephone. Call collect (203) 226 - 3355,
The Star-Spangled Banner
Also includes Clementine, The Erie Canal,
She'll Be Comin' Round the Mountain
Same songs available on Record Album
P B P 139
The Star-Spangled Banner
illus. by Peter Spier - Doubleday
SF 166 C - with cassette
HBC 166 - book-cassette package
The most comprehensive listing of filmstrips on all subjects is the 1980 edition
of INDEX to 35 mm. EDUCATIONAL FILMSTRIPS published by the University of Southern
California, University Park, Los Angeles, 90007. (FILM INDEX, too)